Dvořák’s chamber music is amongst the most extensive and significant of the 19th century, and the four surviving piano trios embody his command of the form. The first two were written in rapid succession, with No. 1 in B flat major marrying Schubertian lyricism with Slavic inflexions, serenity with joy. No. 2 in G minor is rather more classically conceived, though it shares the same formal structure as No. 1 and exudes a similar quotient of lyric beauty.

It's been a long time coming for this second part of Johann Sebastian Bach's partitas played by Evgeni Koroliov. The Steinway D grand piano from the first volume is now permanently installed in a beautiful church in Wernigerode. The recordings of Partitas 3 and 5 were made there. Other issues also delayed progress, including the relocation of TACET's premises. And finally, we're all not getting any younger. Who could say otherwise? This takes it's toll in the form of slower work. Only a few things are timeless, and that includes the music of Johann Sebastian Bach. The way in which Evgeni Koroliov immerses himself in this 'eternal' music, elevating it to a timeless presence, as if it were created in this very moment, changes my perception of time. I absorb it's flow. I agree with it's passing

Joyful Christmas from the famous Leipzig Gewandhaus

This third release marks the end of the recording of all the orchestral works written by Polish composer Grazyna Bacewicz over the course of her not exactly long life. And once again, the WDR Symphony Orchestra under Lukasz Borowicz unfolds a representative range that extends from the phenomenal artist's early neoclassical works to her late phase, in which tonal innovations were at the forefront of her creative work, without losing the indispensable communication with the audience. As a world premiere recording, this album contains the composer's first symphony, while the early Polish Overture and the late In una parte, with which Grazyna Bacewicz created a final "sonoristic" marvel in 1967, two years before her death, can also be heard as concert hall rarities.

Haydn's originality, wit and esprit are once again as impressive as the striking inventiveness and versatility of this highly acclaimed ensemble. If his opus one marks the birth of the genre, then opus 33 marks the rebirth, containing some of his most inspired and innovative music. Haydn skilfully plays with the listener's expectations by offering lots of surprising twists and the Leipzig String Quartet reveal and revel in the delights of Haydn's musical wit and invention.

Idil Biret wanted to record the many waltz transcriptions of Godowsky and others. Chief among these was the transcription of the Johann Strauss' waltz Kiinstlerleben by Godowsky which she had performed at many concerts in the l 970s and the Blue Danube Waltz. However, there was another project scheduled before that; four Haydn Sonatas, some of the most beautiful among the many he composed. When Idil suddenly fell ill in 2021 both projects were abandoned. Then, miraculously a stupendous recording of her performance of Kiinstlerleben in New York in December 1975 surfaced on the internet which led to reembarking on the project in a somewhat different way. The result is this CD, a compilation of Biret's past performances of Waltzes and Dances from many composers including Bartok, Berlioz, Chopin, Debussy, Liszt, Ravel, Stravinsky and, of course, Leopold Godowsky - his piano transcription of the Strauss waltz Kiinstlerleben "Metamorphosis on Themes from Artist's Life"

Vindla String Quartet is something quite unique, a string quartet composing it's own repertoire. In September 2024 they are releasing their second album "Med ljus och lykta" on NAXOS Sweden. The music has it's very own sound, a mixture of influences from classical compositions, jazz, folk and pop. Vindla has established a creative universe, open to new ideas on joint music making. It all started during the Pandemic when restrictions made public performances impossible. The quartet's members started sending bits and pieces of music back and forth to one another, building on each other's ideas. The end result is 9 songs created from the desire to make something together that could not have been done by one of them alone. ' Vindla String Quartet was founded in Malmo in 2008. The quartet is known for it's many collaborations with artists from various genres. Debuting with an album in their own name in 2018 they are recognized as one of Sweden's most interesting chamber music constellations. They aim to widen the idea of what a string quartet can be and do. By making compositions collectively they want to challenge the idea of the composer as a lonesome genius and musicians as interpreters and not creators.

After listening to a substantial number of operas, cantatas, concertos, and chamber music left by the immensely prolific Georg Philipp Telemann, one might assume there would soon be nothing new to discover. This is far from the truth, as demonstrated by the latest production from Camerata Koln and it's director, Michael Schneider. The "Six Quatuors ou Trios 1733" are not merely a continuation of Telemann's Concerti da camera. They differ significantly: polyphonic, chromatic quirks, delicate cantilenas, highly virtuosic (and expertly executed) miniatures, and finally, a series of ancient women's portraits in the contemporary colors of the "Getreue Music-Meister" - if anything is repeated here, it is the amazement at an almost limitless, inexhaustible imagination.

The six piano sonatas by Brazilian composer Claudio Santoro document the evolution of his creative and formal development, from twelve-tone technique to Brazilian nationalism. The sonatas are performed by the composer's son, Alessandro Santoro.

This album features the live recording of the concert given by Trio Lirico and pianist Josu de Solaun at the Fundacion Juan March in Madrid on April 23, 2025. It marks the world premiere recording of the two piano quartets composed in 1902 by the Spanish composers Vicente Zurron and Bartolome Perez Casas. The beginning of the 20th century represented a creative breakthrough in Spain, where chamber music had previously been limited to private settings and personal enjoyment. The expansion of chamber music into public concert halls inspired local composers to explore the genre - an impulse reflected in the recovery of these long-overlooked works.

Internationally celebrated as both a soloist and conductor, Florian Krumpock has more than proven his outstanding capability in the international concert scene. "Forget Lang Lang and Arcadi Volodos. There are highly virtuoso keyboard tigers in Austria too", was the verdict of the daily newspaper "Die Presse" on the pianist's solo debut at the Vienna Konzerthaus. On this album, Florian Krumpock presents two of Robert Schumann's seminal works Fantasiestucke, Op. 12 and Symphonic etudes, Op. 13 both deeply intertwined with his great love and future wife, Clara Wieck. The album's title, "Between Eusebius and Florestan", alludes to the alter egos Schumann frequently invoked during this period: opposing personas that profoundly influenced his work as both a music critic and a composer. This recording of the Symphonic etudes includes five posthumously published variations, with the finale drawn from Schumann's 1852 revised version.

Jeji pastorkyna (Her Stepdaughter; commonly known as Jenufa) is an opera in three acts by Leos Janacek to a Czech libretto by the composer, based on the play Jeji pastorkyna by Gabriela Preissova. Jenufa is based on a play by the Czech writer Gabriela Preissova�. Set a Moravian village, it follows the travails of two half-brothers, steva and Laca, and the woman with whom they are both in love, Jenufa. Jenufa loves steva in return, and is secretly pregnant with his child. But, after the jealous Laca slashes her face, steva abandons her, repelled by the disfigurement. Things only get worse for Jenufa in the second act. Laca, who now hopes to marry her instead, finds out about the child and is furious. In a desperate attempt to help, Jenufa's stepmother kills the baby - but tells them both it died naturally. Her plan appears to work and the pair agree to marry, but the child's body is discovered, forcing Jenufa's stepmother to confess. The opera ends with a remarkable reconciliatory duet between Laca and Jenufa. Here Janacek's music gleams, luminous and hopeful after such sustained darkness.

Red is the color of love and of roses, but also of blood, anger, and shame. Soprano Eva Resch delves into the multifaceted meanings of this color in her new concept album for GENUIN. Together with her piano partner Eric Schneider, she interprets songs spanning from the Classical era to the present - from Wolfgang Amadeus Mozart to Wolfgang Rihm. With her versatile voice, she traces the subtlest shades of human emotion and creates expressive character portraits that range from jubilant ecstasy to the depths of sorrow.

Concertos for bass clarinet are rare enough; this album brings three new ones to swell those limited ranks. It presents the fruit of a series of interlocking international co-operations, between orchestras in Sweden, the UK and USA, with American, British and Swedish composers and, at the heart of the undertaking, the bass clarinettist of the Malmo Symphony Orchestra, Carl-Johan Stjernstrom. All three composers exploit the huge range of colours the bass clarinet can offer, in music that ranges from the fierce and dramatic to the sunny and easy-going. The album also inaugurates a Toccata Next series providing a platform for the musicians of the Malmo Symphony Orchestra.

The age-old spirit of the composer-performer lies at the heart of the 10-year collaboration between cellist-composer Christoph Croise and composer-saxophonist Daniel Schnyder (pronounced SHNEE-der). This resulting album features two of Daniel's concertos, both commissioned by Christoph, alongside numerous world premieres of solo and chamber works. Christoph shines in the Concerto for Cello, Percussion and String Orchestra, whilst the two Swiss compatriots share the limelight in Concerto Populaire for soprano saxophone, cello, percussion and string orchestra, both backed by members of Christoph's hand-picked Beyond Modern Orchestra, an ensemble dedicated to the creation and performance of new music. Christoph brings in other close collaborators, including Alexander Panfilov for Jazz Sonata for Cello & Piano, harpsichordist Peter Gorobets for Cello BLU - another Christoph commission that explores the unique timbral relationship between the two instruments - and an octet of leading European cellists for Cubac - a fusion of Cuban rhythms and Bachian-counterpoint. Throughout, Daniel's compositions seamlessly fuse a melting pot of musical styles, including classical, jazz, Middle Eastern, African and Latin American. Christoph, who himself is rapidly gaining renown as a composer, says, "There is no more fitting way to celebrate contemporary music than by performing it alongside the composer himself."